The first comprehensive catalogue of the Getty Museum’s significant collection of French Rococo ébénisterie furniture. This catalogue focuses on French ébénisterie furniture in the Rococo style dating from 1735 to 1760. These splendid objects directly reflect the tastes of the Museum’s founder, J. Paul Getty, who started collecting in this area in 1938 and continued until his death in 1976. The Museum’s collection is particularly rich in examples created by the most talented cabinet masters then active in Paris, including Bernard van Risenburgh II (after 1696–ca. 1766), Jacques Dubois (1694–1763), and Jean-François Oeben (1721–1763). Working for members of the French royal family and aristocracy, these craftsmen excelled at producing veneered and marquetried pieces of furniture (tables, cabinets, and chests of drawers) fashionable for their lavish surfaces, refined gilt-bronze mounts, and elaborate design. These objects were renowned throughout Europe at a time when Paris was considered the capital of good taste. The entry on each work comprises both a curatorial section, with description and commentary, and a conservation report, with construction diagrams. An introduction by Anne-Lise Desmas traces the collection’s acquisition history, and two technical essays by Arlen Heginbotham present methodologies and findings on the analysis of gilt-bronze mounts and lacquer. The free online edition of this open-access publication is available at www.getty.edu/publications/rococo/ and includes zoomable, high-resolution photography. Also available are free PDF, EPUB, and Kindle/MOBI downloads of the book, and JPG downloads of the main catalogue images.

"Your Mindful Compass" takes us behind the emotional curtain to see the mechanisms regulating individuals in social systems. There is great comfort and wisdom in knowing we can increase our awareness to manage the swift and ancient mechanisms of social control. We can gain greater flexibility by seeing how social controls work in systems from ants to humans. To be less controlled by others, we learn how emotional systems influence our relationship-oriented brain. People want to know what goes on in families that give rise to amazing leaders and/or terrorists. For the first time in history we can understand the systems in which we live. The social sciences have been accumulating knowledge since the early fifties as to how we are regulated by others. S. Milgram, S. Ashe, P. Zimbardo and J. Calhoun, detail the vulnerability to being duped and deceived and the difficulty of cooperating when values differ. Murray Bowen, M.D., the first researcher to observe several live-in families, for up to three years, at the National Institute of Mental Health. Describing how family members overly influence one another and distribute stress unevenly, Bowen described both how symptoms and family leaders emerge in highly stressed families. Our brain is not organized to automatically perceive that each family has an emotional system, fine-tuned by evolution and "valuing" its survival as a whole, as much as the survival of any individual. It is easier to see this emotional system function in ants or mice but not in humans. The emotional system is organized to snooker us humans: encouraging us to take sides, run away from others, to pressure others, to get sick, to blame others, and to have great difficulty in seeing our part in problems. It is hard to see that we become anxious, stressed out and even that we are difficult to deal with. But "thinking systems" can open the doors of perception, allowing us to experience the world in a different way. This book offers both coaching ideas and stories from leaders as to strategies to break out from social control by de-triangling, using paradoxes, reversals and other types of interruptions of highly linked emotional processes. Time is needed to think clearly about the automatic nature of the two against one triangle. Time and experience is required as we learn strategies to put two people together and get self outside the control of the system. In addition, it takes time to clarify and define one's principles, to know what "I" will or will not do and to be able to take a stand with others with whom we are very involved. The good news is that systems' thinking is possible for anyone. It is always possible for an individual to understand feelings and to integrate them with their more rational brains. In so doing, an individual increases his or her ability to communicate despite misunderstandings or even rejection from important others. The effort involved in creating your Mindful Compass enables us to perceive the relationship system without experiencing it's threats. The four points on the Mindful Compass are: 1) Action for Self, 2) Resistance to Forward Progress, 3) Knowledge of Social Systems and the 4) The Ability to Stand Alone. Each gives us a view of the process one enters when making an effort to define a self and build an emotional backbone. It is not easy to find our way through the social jungle. The ability to know emotional systems well enough to take a position for self and to become more differentiated is part of the natural way humans cope with pressure. Now people can use available knowledge to build an emotional backbone, by thoughtfully altering their part in the relationship system. No one knows how far one can go by making an effort to be more of a self-defined individual in relationships to others. Through increasing emotional maturity, we can find greater individual freedom at the same time that we increase our ability to cooperate and to be close to others.

A landmark retrospective on the Art Deco painter exploring her intersectional identities Tamara de Lempicka (1894-1980), the "Baroness with a Brush," is often cast as one of Art Deco's most celebrated artists, though her work transcends categorization, incorporating elements of Cubism and Neoclassicism in a distinctive, sensuous blend of form and function. Lempicka's paintings, including a self-portrait as the driver of a sleek green Bugatti, often depict dazzling, self-assured women, exuding elegance and transgressive sexuality while combining the modern with the classical. This gorgeous survey presents the full arc of Lempicka's career in the context of her life and her evolving identity, including her Polish and Russian origins, her marriages and other relationships, and her time in France, Italy, and the United States. This book unfolds chronologically through three sections that mark the stages of the artist's life and the evolution of her artistic style, with particular focus on her Jewish heritage, her expression of gender, and her sexuality. Published in association with the Fine Arts Museums of San Francisco Exhibition Schedule: de Young Museum, San Francisco (October 12, 2024-February 9, 2025) The Museum of Fine Arts, Houston (March 9-May 26, 2025)

"This is a book just the way I don't like them," the father of French Symbolism, StŽphane MallarmŽ, informs the reader in his preface to Divagations: "scattered and with no architecture." On the heels of this caveat, MallarmŽ's diverting, discursive, and gorgeously disordered 1897 masterpiece tumbles forth--and proves itself to be just the sort of book his readers like most. The salmagundi of prose poems, prose-poetic musings, criticism, and reflections that is Divagations has long been considered a treasure trove by students of aesthetics and modern poetry. If MallarmŽ captured the tone and very feel of fin-de-sicle Paris, he went on to captivate the minds of the greatest writers of the twentieth century--from ValŽry and Eliot to Paul de Man and Jacques Derrida. This was the only book of prose he published in his lifetime and, in a new translation by Barbara Johnson, is now available for the first time in English as MallarmŽ arranged it. The result is an entrancing work through which a notoriously difficult-to-translate voice shines in all of its languor and musicality. Whether contemplating the poetry of Tennyson, the possibilities of language, a masturbating priest, or the transporting power of dance, MallarmŽ remains a fascinating companion--charming, opinionated, and pedantic by turns. As an expression of the Symbolist movement and as a contribution to literary studies, Divagations is vitally important. But it is also, in Johnson's masterful translation, endlessly mesmerizing.

Travel, Collecting, and Museums of Asian Art in Nineteenth-Century Paris examines a history of contact between modern Europe and East Asia through three collectors: Henri Cernuschi, Emile Guimet, and Edmond de Goncourt. Drawing on a wealth of material including European travelogues of the East and Asian reports of the West, Ting Chang explores the politics of mobility and cross-cultural encounter in the nineteenth century. This book takes a new approach to museum studies and institutional critique by highlighting what is missing from the existing scholarship -- the foreign labors, social relations, and somatic experiences of travel that are constitutive of museums yet left out of their histories. The author explores how global trade and monetary theory shaped Cernuschi's collection of archaic Chinese bronze. Exchange systems, both material and immaterial, determined Guimet's museum of religious objects and Goncourt's private collection of Asian art. Bronze, porcelain, and prints articulated the shifting relations and frameworks of understanding between France, Japan, and China in a time of profound transformation. Travel, Collecting, and Museums of Asian Art in Nineteenth-Century Paris thus looks at what Asian art was imagined to do for Europe. This book will be of interest to scholars and students interested in art history, travel imagery, museum studies, cross-cultural encounters, and modern transnational histories.